and photographed by JR Compton
from extensive notes by Kathy DelloStritto
was deeply disappointed. Kathy wasn't even surprised.
first, we both thought Come
at the DMA through
May 11, 2003
was just mediocre.
it plugs in the wall or moves, blinks or flashes, curator Suzanne
chose it for this show.
oil and acrylic on paper
artists were nominated by art professors and curators from all
over Texas. 60 studios were visited. 11 were selected.
are, of course, racially, culturally, ethnically and sexually
diverse, almost no matter what else.
and flashing colored lights are popular, as are smarmy, neither
witty nor subversive, cutesy post Koonsian shapes that kept reminding
us conversely (maybe perversely) of Celia Eberle,
whose work is both witty and subversive, although she's no longer
befitting the City-run museum, the show has no sex, no love,
no hostility or conflict of any kind, no tension, no protest,
not nearly enough humor, few bright colors, nothing bites or
even barks, no in your face, no gloom, no wonder, and darned
show does have a distinctive look and feel. Clean, often serene,
although a little crammed in some rooms. Overall airy, light,
pastelish. Very retro.
didn't hate everything, but it was several rooms before JR was
even touched by anything, though he dutifully recorded something
in every room.
oil and acrylic on paper
favorites were Brent
video of floating, and Joey
luscious portraits interspersed with colorful, kinetic, lined
whirligigs. It was the mix of the portrait's goofy, nose-picking
and cheek-stretching humanity and the vivid little spinners on
plates that brought JR back from his photo- documenting daze.
Latex primer on architectural film (extreme detail)
also liked Irene
large, lace-like, white on white, latex on film, image, intricate
of texture and shape. JR thought the actual, backup and see it
from across the room, pictures paled in comparison to Roderick's
fascinating, up-close detail.
Di Stafano -
oil, acrylic and molding paste
on canvas (detail)
dragged JR over to see the exquisite colors and textures of Augusto
paintings. And we both liked Brent Steen's
drawing, loosely floating in so much neutral space.
did not like: Robyn
kid-like dinosaur drawings, big or small; Chris Sauter's
hghfalutin' titles or bed post corral with dual projected TVs
of endless rodeo footage we've
seen all that many times before, Ruckus Rodeo
and too often since.
also did not much like Adrian
simplistic, uncalming, acrylic on plywood mandalas what's the point? Ditto for Robert
folks still kaint stick together, 3 slightly decorated,
Hormel canned hams, or his me
and this mic is like yin and yang, dilapidated upright
mic stand. And those stupid stringy serapes in the first room,
arghhh! Gag me with a taco.
wood, acrylic and electronics
especially liked Brad
serene, supposedly studio-like, installation, dotted with colorful,
shaped sound systems, oddly thin and plugged in 3-D objects scattered
with flipflops and other bits of his studio and real life; and
hand-lettered narrated digital ethnic photocopied portraits with
also liked but Kathy decidedly
did not Chris Sauter's
enigmatic organizational chart, patch sewn vest, spread eagled
on the wall outside the TV room; and local artist Marshall
blinking, flashing and glowing boxes, especially his archetypal
hot rod flames, grafted onto hapless fish.
photocopies on archival paper (detail)
we shouldn't have gone when we were tired and starving. Perhaps
we should have given it more time.
mediocre was it?
knocked our sox off or caused us to rethink. No double-takes,
shock or amazement. Nothing fascinated or intrigued or boggled.
It was just some art show, and if it had been anywhere else,
we wouldn't have been so concerned.
worried that many would be led to believe that, because this
stuff is at the City's art museum, and most people won't understand
it, it must be great art. Obviously, however, the museum doesn't
understand it, either.
still thinks the Dallas Center for Contemporary Art (D-Art)'s
was a better show to celebrate the Dallas museum's 100th anniversary.
cast foam and plastic
and, in back:
(figure eight), 2001
latex on wood, fabric, speakers,drum leg
any work in this often lackluster show turned JR on, it had to
simplified amps. Plugged in electric, simple, bright colors.
Unique, utilitarian. Surprisingly memorable.
even liked Brad skate-boarding on the otherwise glitzed-up amateur
no special effect left untried
that disclosed almost no new information about any of the other